R.ARY UN IVLRSITY I/I B
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from the University. LIBRARY AT
JAN 2 3
JUL 14 973
MAY JAN 2 81 L161
THE DANCE OF DEATH
Tins Kdition consists of
500 ordinary copies Imperial i6mv, and 100 numbered copies on Japanese Vellum
Fhe Dance of Death by Hans Holbein, with an introductory note by
WHITTINGHAM AND CHANCERY LANE.
THE DANCE OF DEATH. ES la
Simulachres sf Historiees Faces de Mort avtant elegamment
pourtraictes, que artificielle- The Book.
ment imaginees." This may be Englished as follows: 'The Imand Storied as Death y Aspects of ages '''elegantly
delineated as \_they are\ ingeniously imagined. literal title of the earliest edition of the
" /amous book now familiarly known as Holbein s ~Dance of Death." It is a small quarto, bearing on
below the French words above quoted, the legend Vsus me Genuity and on an open book, Gnothe seauton. Below this " de r comes again, Soubz I'escu Lyon^ Coloigne : D. xxxvin," while at the end of the volume is the ^M. " Excvdebant <> imprint Lvgdvni Melchior et Gaspar ^its title-page,
A" ^rechsel fratres
the Trechsels being printers long been established at
The Dance of Death.
" or Preface There is a verbose " Epistre Lyons. " moult reuerende Abbesse du rein French to the ligieux conuent S. Pierre de Lyon, Madame lehanne de Touszele" otherwise the Abbess of Saint Pierre les Nonnains, a religious house containing many noble and wealthy ladies, and the words " Salut dun vray Zele" which conclude the dedicatory heading, are supposed " to reveal indirectly the author of the " itself, namely, Jean de Vauzelles, Pastor Epistre of St. Remain and Prior of Monrottier, one of three famous literary brothers in the city on the Rhone, whose motto was <c D'un vray Zelle" After the Preface comes " Diuerses Tables de Mort^ non painctes, mats extraictes de I' e scripture saincte, colorees par Doc-
teurs Ecclesiastiques, umbragees -par Philosophes" Then follow the cuts, forty-one in number, each having its text from the Latin Bible above it, and
below, its quatrain in French, this latter being understood to be from the pen of one Gilles Corozet. To the cuts succeed various make-weight Appendices of a didactic
and hortatory character, the whole being
wound up by de
a profitable discourse, De la Necessite qui ne laisse riens estre pardurable.
Various editions ensued to this
one of 1538,
the next or second of 1542 (in which Corozet's verses were translated into Latin by Luther's brother-in-
or Aemilius), being put forth
by Jean and Francois Frellon, into whose hands the establishment of the Trechsels had fallen. There were subsequent issues in 1545, 1547, !549> I 554> and 1562. To the issues of 1545 and 1562 a few supplementary designs were added, some of which have no special bearing upon the general theme,
The Dance of Death.
although attempts, more or less ingenious, have been made to connect them with the text. After 1562 no addition was
to the plates.
the date of the editio prtnceps it might be supposed that the designs were executed at or about 1 538 the year of its publication. But The Artist. is not the case and there is good evidence that they were not only designed but actually
wood some eleven years before the book was published. There are, in fact, several
cut on the itself
in the British
the Imperial Library Ducal Cabinet at Carlsruhe,
and the Grand of which correspond with each other, and are believed to be engraver's proofs from the original blocks. These, which include every cut in the edition of 1538, except " The Astrologer," would prove little of themselves as to the date of execution. But, luckily, there exists in the Cabinet at Berlin a set of coarse enlarged drawings in Indian ink, on brownish paper, of twenty-three of the series. These are in circular form; and were apparently intended as at Paris, all
That they are copied sketches for glass painting. from the woodcuts is demonstrable, first, because they are not reversed as they would have been if they were the and, secondly, because one of them, No. 36 originals ("The Duchess"), repeats the conjoined "H. L." ;
on the bed, which initials are held to be the monogram of the woodcutter, and not to be part of the The Berlin drawings must therefore original design. have been executed subsequently to the woodcuts and ;
one of them, that representing the Emperor, is dated u 1527," we get a date before which both the woodcuts, as
The Dance of Death.
and the designs for the woodcuts, must have been prepared. It is generally held that they were so prepared circa 1524. and 1525, the date of the Peasants' War, of the state of feeling excited by which they exhibit evident traces.
In the Preface to this
first edition, to we shall prewhich ambiguous expressions, of the led some earlier on the subwriters sently refer, to doubt as to the designer of the series. But ject
Wornum and Woltmann, of Paul Mantz, and more recently, of Mr. W. J. Linton, leave no doubt that they were really drawn by the artist to whom they have always been traditionally assigned, to wit, Hans Holbein the younger. He was resident in Basle up to the autumn of 1526, before which time, according to the above argument, he had the drawings must have been produced an of Death and, morealready designed Alphabet on the walls of the of the Dominican over, cemetery at Basle there was a famous monastery wall-painting of the Dance of Death, which would be a perpetual stimulus to any resident artist. Finally, and this is the most consideration of all, the important perhaps in Holbein's manner. are designs But besides revealing an inventor of the highest the later researches of
order, the 'Dance of interpreter
wood of The ability. in
also discloses an
designs are cut
superlative, to use the word which implies the employment of the knife as opposed to that of the graver in a manner
which has never yet been excelled. In this matter there can be no better judge than Mr. W. J. Linton; and he says that nothing, either by knife or by graver, is of Yet the higher quality than these woodcuts.
The Dance of Death.
woodcutter's very name was for a long time doubtful, and even now the particulars which we possess with That he regard to him, are scanty and inconclusive. was dead when the Trechsels published the book in 1538, must be inferred from the "Epistre" of Jean
de Vauzelles, since that cc Epistre" expressly refers to "la mort de celluy, qui nous en a icy imagine si elegantes " figures ; and without entering into elaborate enquiry as to the exact
" meaning of imaginer
obvious that, although the decentury French, ceased is elsewhere loosely called " fainctrc" this title cannot refer to Holbein, who was so far from being dead that he survived until 1543. The only indication of the woodcutter's name is supplied by the " " tL upon the bedstead in No. 36 monogram, ("The Duchess"); and these initials have been supposed to indicate one Hans Lutzelburger, or Hans of Luxemburg, cc otherwise Franck," a form-cutter ("formschneider"), whose full name is to be found " Little Dance of attached to the so-called Death," an of which are in the alphabet by Holbein, impressions it is
found appended to another alphabet to a cut of a fight in a forest, dated also 1522 and to an engraved title-page in a German New Testament of the This is all we know with certainty year following. his work, concerning though the investigations of Dr. Edouard His have established the fact that a ''form" schneider named Hans, who had business transactions with the Trechsels of Lyons, had died at Basle before June, 1526; and it is conjectured, though absolute proof is not forthcoming, that this must have been the " H.L.," or Hans of Luxemburg, who cut is
The Dance of Death.
In any case, unHolbein's designs upon the wood. we must assume another woodcutter of equal merit, it is probable that the same man cut the signed Alphabet in the British Museum and the initialed Dance of Death. But why the cuts of the latter,
we have shown
above, were printed circa
1526, were not published at Lyons until 1538; and why Holbein's name was withheld in the Preface to the book of that year, are still unexplained. The generally accepted supposition is that motives of timidity, arising from the satirical and fearlessly unsparing character of the designs, may be answerable both for delay in the publication and mystification in the " Preface."
And if intentional mystification be admitted, the doors of enquiry, after three hundred and fifty years, are practically sealed to the critical picklock.
of Death has been frequently copied. J. Linton enumerates a Venice reReproducproduction of 1 545 ; and a set (enlarged) by Jobst Dienecker of Augsburg in 1554. Then there is the free copy, once popular with our grandfathers, by Bewick's younger brother ohn, which Hodgson of Newcastle published in 1789 ?reat under the title of Emblems of Mortality. Wencelas Hollar etched thirty of the designs in 1651, and in 1788 forty- six of them were etched by David Deuchar. In 1832 they were reproduced upon stone with great care by Joseph Schlotthauer, Professor in the Academy of Fine Arts at Munich ; and these were re-issued in this country in 1849 ^7 J onn Russell Smith. They have also been rendered in photo-lithography for an edition issued by H. Noel other
Dance of Death.
and for the Holbein Society
886, Dr. F.
of reproductions of the engraver's Berlin in the Museum and the editio princeps proofs has been facsimiled by one of the modern processes for Hirth of Munich, as vol. x. of the LiebhaberQuaritch a
copies given in the present issue are impres-
from the blocks engraved in 1833 for Douce's Holbein's Dance of Death. They are
the best imitations in wood, says Mr. Linton. It is of course true, as he also points out, that a copy with the graver can never quite faithfully follow an original
which has been cut with the
cially, may be added, when the cutter is a supreme craftsman like him of Luxemburg. But against etched, lithographed, phototyped and otherwise -processed copies, these of Messrs. Bonner and John By field have one incontestable advantage they are honest atit
tempts to repeat
by the same method,
the original and incomparable woodcuts of
THE DANCE OF DEATH. (CHANT ROYAL, AFTER HOLBEIN " Contra vim Mortis
medicamen in bortis"
the despots' Despot.
Later or soon, the message of his might.;
and potentates their heads
of his right Beside the Kaiser he at eve doth wait And pours a potion in his cup of state; The stately Queen his bidding must obey No keen eyed Cardinal shall him affray And to the Dame that wantoneth he saith "Let be, Sweet-heart, to junket and to play." There is no king more terrible than Death. the awful
At the suggestion of the general editor of the present series, Chant Royal of the King of Terrors is here reprinted from the eleventh edition of Old-World Idylls, 1892. It does not of this
course pretend to the rigorous exactitude of a commentary.
Dance of Death.
lusty Lord, rejoicing in his pride, draweth down before the armed Knight With jingling bridle-rein he still doth ride
crosseth the strong Captain in the fight;
The Burgher grave he beckons from
debate shaven pate,
for the Abbess' wailing will delay;
bawling Mendicant shall say him nay ; E'en to the pyx the Priest he followeth, Nor can the Leech his chilling finger stay There is no king more terrible than Death.
bow to him. And woe betide The Wine-bibber, the Roisterer by night
All things must
Him Him Woe
the feast-master, many bouts defied, 'twixt the pledging and the cup shall smite
Lender at usurious rate, The hard Rich Man, the hireling Advocate
Judge the Thief
With creeping These,
that selleth right for pay that like a beast of prey
tread the traveller harryeth
sudden sword shall slay no king more terrible than Death.
in their sin, the is
hath no pity, nor will be denied. the low hearth is garnished and bright, Grimly he flingeth the dim portal wide, And steals the Infant in the Mother's sight; He hath no pity for the scorned of fate He spares not Lazarus lying at the gate, Nay, nor the Blind that stumbleth as he may ;
at the sinking ray, an icy breath,
In the last furrow,
The Dance of Death.
And knows There
a hand hath turned the team astray no king more terrible than Death.
hath no pity. For the new-made Bride, Blithe with the promise of her life's delight, That wanders gladly by her Husband's side,
with the clatter of his drum doth fright scares the Virgin at the convent grate
half- won, the Lover passionate ; hath no grace for weakness and decay The tender Wife, the Widow bent and gray,
The feeble Sire whose footstep faltereth, All these he leadeth by the lonely way There is no king more terrible than Death. .
ENVOY. for whose ear and monishing of late, sang of Prodigals and lost estate, Have thou thy joy of living and be gay ; But know not less that there must come a day,
Aye, and perchance e'en now
it hasteneth, heart shall speak to thee and say,
no king more
than Death. A. D.
LIST OF ILLUSTRATIONS. The German
from those which
appear above the engraver's proofs. of the cuts.
taken from the side of
im Paradies. Eve, having received an apple from the serpent, prompts Adam to gather more.
Austreibung Ade Eve.
and Eve, preceded by Death, playing on
beggar's lyre or hurdy-gurdy, are driven by the angel from Eden.
THE CONSEQUENCES Adam
OF THE FALL
Erden. Adam, aided by Death, tills the earth. Eve, with a distaff, suckles Cain in the background. die
Gebein aller Menscben.
on horns, trum-
THE POPE Der
The Pope (Leo an
X.) with Death
in a cardinal's hat,
at his side,
List of Illustrations.
THE EMPEROR Der
for injustice to a suitor.
rates his minister
But even in the act
Death discrowns him.
THE KING Der
I.) sits at feast
dachin sprinkled \v\t\\ fleurs-de-lis. cup-bearer, pours his last draught.
Death, as a
THE CARDINAL Der
off the Cardinal's hat as he is
a letter of indulgence to a rich
opponent, Cardinal Cajetan,
Luther's supposed to be
THE EMPRESS Die
Empress, walking with her women, is inwho conducts her
tercepted by a female Death, to an open grave.
Die Koniginn. Death, in the guise of a court-jester, drags away the
leaving her palace.
sun is setting, and Death leads the aged Bishop from the sorrowing shepherds of his flock.
Der Herzog. The Duke
turns pitilessly from a
and her child.
beggar-woman Meanwhile Death, fantastically
hands on him.
THE ABBOT Der Abt. Death, having despoiled the Abbot of mitre and and threaten-
crozier, hales him along unwilling, ing his enemy with his breviary.
List of Illustrations. THE
Death, in a wreath of Abbess by her scapulary
flags, pulls in sight of a
Der Edelmann. Death drags the
bier in the background.
THE CANON, OR PREBENDARY
with his falconer, page, and jester, enters the church door. Death shows him that
sands have run.
THE JUDGE Der
Death withdraws the Judge's a bribe
a rich suitor.
Der Furspracb. Death comes upon him is
being feed by a rich
in the street
THE COUNSELLOR, OR SENATOR Der Ratbsberr. The Counsellor, prompted by
a devil, is absorbed by a nobleman, and turns unheeding from a poor suppliant. But Death, with glass and spade, is waiting at his feet.
THE PREACHER Der
Predicant. in a stole, stands in the pulpit behind the fluent Preacher, and prepares to strike him
PRIEST, OR PASTOR
Death precedes him
as his sacristan.
List of Illustrations.
Der Moncb. Death
just as his begging
box and bag
The young Nun kneels at the to her lover who plays upon meantime,
old hag, extinguishes
the altar candles.
THE OLD WOMAN
Das Altweib. " Melior
est mors quam vita" to the aged woman crawls gravewards with her bone rosary while Death makes music in the van.
Death brings him him cure himself.
THE ASTROLOGER (Seep.
a hopeless patient,
contemplates a pendent sphere.
thrusts a skull before his eyes.
THE RICH MAN
Der Reicbman. Death
at his pay-table
THE MERCHANT Der Kaufmann. Death
THE SHIPMAN Der
Death breaks the mast of the crew are in extremity.
List of Illustrations.
THE KNIGHT Der
Death, in cuirass and through the body.
THE COUNT Der
Graf. as a
a flail, lifts
THE OLD MAN Der Altmann. Death, playing on a dulcimer, leads him into his grave.
Die Grafnn. Death helps her at her tiring by decorating her with a necklet of dead men's bones.
THE NOBLE LADY, OR Die
et te sola
says the motto.
already dances before her.
seizes her in bed,
while his fellow plays
THE PEDLAR Der Kramer. Death
the road with his wares at
Der Acker rnann. Death runs
at the horses' sides as the
and the furrows are completed.
THE YOUNG CHILD
Das Junge Kind. As the meagre cottage meal steals
the youngest child.
List of Illustrations.
THE LAST JUDGMENT Das Jungs te
" Omnes stabimus ante tribunal Domini T
THE ESCUTCHEON Die Wappen
supporters represent Holbein and his wife. in later editions^
Death, armed only with a bone and shield, fights with the Soldier on the field of battle.
Death and the Devil
THE DRUNKARD Men and women
the throat of
one bloated fellow Death pours the wine.
THE FOOL The who THE ROBBER
plays the bagpipes.
............... Death Robber MAN ............. THE Death Man THE WAGGONER ............. The seizes the
in the act
leads the Blind
overturned; one Death carries wheel, the other loosens the fastening of a
Fool dances along the highway with Death
THE BEGGAR The
Beggar, lying on straw outside the city, cries in vain for Death.
" The others, not found in the earlier editions, Young The Young Husband," are not included in the Douce reprint for which the foregoing
" Wife," and
blocks were engraved.]
HISTORIBES FACES DE LA MORT,
COL OIG xx x v in.
Formauit DOMINVS DEVS homi-
fuam creauit ilium, mafculum foeminam creauit eos.
DIEV, De rien Et
Mer, Terre, procrea demonftrant fa puiflance
puis de la terre crea
a fa fem-
comedifti de ligno ex quo precepe-
ne comederes &c.
ADAM fut par EVE Et contre
DIE V mangea la pomme, deux ont fut
Mort receu, homme.
eum DOMINVS DEVS
terram de qua fumptus
Pour uiure au labeur de Alors
plaifir fes mains
Et confequemment tous humains.
Maledi&a laboribus vilae tuae,
opere tuo, in
comedes cundtis diebus donee reuertaris &c.
Mauldi&e en ton
labeur la terre.
labeur ta uie uferas,
lufques que la Mort te foubterre. Toy pouldre en pouldre tourneras.
THE CONSEQUENCES OF THE
vae vae habitantibus in terra.
APOCALYPSIS vm. CuncSta in quibus fpiraculum st,
Malheureux qui uiuez au monde Toufiours remplis d'ad uerfitez, Pour quelque bien qui nous abonde, Serez tous de Mort uifitez.
Moriatur facerdos magnus. IOSVE xx.
Et epifcopatum eius accipiat alter. PSALMISTA CVIII.
te cuydes immortel eftre Par Mort feras toft depefche, Et combien que tu foys grand
prebftre, aultre aura ton Euefche.
Difpone domui tu,
tuae, morieris viues.
xxxviu. Ibi morieris,
& ibi erit currus gloriae
maifon difpoferas de ton bien tranfitoire,
ou mort les
chariotz de ta gloire.
& rex hodie eft, & eras
morieex regibus aliud
en tombe clofe. aulcun de fon arroy
Car Roy N'a fceu emporter
Vae qui neribus, ab eo.
Mai pour uous
qui iuftifiez plain de malice,
L'inhumain, Et par dons le fan&ifiez, Oftant au iufte fa iuftice.
Gradientes in fuperbia poteft Deus humiliare.
Qui marchez en pompe fuperbe
La Mort vng
iour uous pliera.
Comefoubzuozpiedzployezrherbe, Ainfi uous humiliera.
Mulieres opulentae furgite, & audite vocem meam. Poft dies, & annum, vos conturbemini.
Leuez uous dames
uoix des trefpaffez. maintz ans iours paflez, Apres Serez troublees doulentes.
pafteur auffi frapperay, crofles renuerfees.
fes brebis difperfees.
induetur mcerore. Et faciam quiefcere fuperbia potentium. Princeps
Vien, prince, auec moy, & delaifle Honneurs mondains toft fmifTantz. Seule
fuis qui, certes, abaifTe
Ipfe morietur. Quia no habuit difin multitudine llultitiae ciplinam,
mourra. Car il n'a receu foy aulcune difcipline, Et au nombre fera deceu De folie qui le domine. II
mortz plus loue mal abonde, Mort ma noue Toucesfoys Au ranc de ceulx qui font au monde. I'ay toufiours les
les uifz, efquelz la
homo qui viuet, & non mortem, eruet anima fuam
Qui eftcelluy, tant foit grand homme, Qui puifle uiure fans mourir ? Et de la Mort, qui tout aflbmme, Puifle fon
uas au choeur dire tes heures Paiant Dieu pour toy, ton proche. Mais il fault ores que tu meures.
tu pas 1'heure qui approche
Difperdam iudicem de medio
Du mylieu d'eulx uous ofteray luges corrumpus par prefentz. Point ne ferez de Mort exemptz. ailleurs uous tranfporteray.
& abfcodit fe & affli&us eft
cault a ueu la malice Pour 1'innocent faire obliger, Et puis par uoye de iuftice Eft uenu le pauure affliger.
Qui obturat aurem fuam ad clamorem pauperis, & ipfe clamabit, & non exaudietur. PROVER. xxi.
Les riches confeillez toufiours, Et aux pauures clouez 1'oreille. Vous crierez aux derniers iours, Mais Dieu uous fera la pareille.
malu, ponentes tenebras lulucem tenebras, ponentes cem, amarum dulce, & dulce in amarum.
Mai pour uous qui ainfi ofez Le mal pour le bien nous blafmer, Et le bien pour mal expofez, Mettant auec le doulx Farrier.
Sum quidem &
ego mortalis homo. SAP. vn.
Et comme luy me
Sedentes in tenebris,
mortis, vin&os in mendicitate.
qui n'as foucy,
Sinon de ta mendicite,
Pumbre de Mort
t'oufter de neceflite.
THE MENDICANT FRIAR.
Eft via quae videtur homini iufta nouifiima autem eius deducunt hominem ad mortem. :
Telle uoye aux humains
Et a 1'homme trefiufte femble. Mais la fin d'elle a 1'homme donne, LaMort,qui tous pecheurs affemble.
mors quam vita. ECCLE. XXX.
peine ay uefcu longuement plus de uiure enuie, Mais bien ie croy certainement, Meilleure la Mort que la uie.
Tant que nay
THE OLD WOMAN.
Medice, cura teipfum.
TTu congnoys bien
patient fecourir, fcais tefte eftourdie,
dont tu deburas mourir.
dierum tuorum noueras
qu'aux aultres doibt aduenir.
Dy moy done par Quand tu deburas
Aftrologie a moy uenir
repetunt animam quae parafti cuius erunt ?
Et demain feras enchafle. Mais dy moy, fol, a qui uiendra
bien que tu as amafle
Qui congregat vanus
& excors eft, & impingetur ad
Vain eft cil qui amaflera Grandz biens,&tresors pour mentir,
La Mort Car en
fera repentir. lacz furpris fera.
Qui volunt laqueum
diuites fieri incidunt in
& nociua, quae
defideria multa, mergunt homines in
Pour acqucnr des biens mondains
Vous entrez en tentation, Qui uous met es perilz fouldains, t
uous rraine a perdition.
Subito morientur, & in media no&e turbabuntur populi, & auferent vio-
manu. lOB XXXIIII.
Peuples foubdain f 'efleueront lencontre de 1'inhumain,
fans force de main.
Quoniam cum interiet non fumet fecum omnia, neq^ cum eo defcedet gloria eius.
foy rien n'emportera,
Mais qu'une foys la Mort le tombe, Rien de fa gloire n'oftera, Pour mettre auec Toy en fa tombe.
attenuabitur, dies mei
fepulchrum. IOB xvn.
Mes efperitz font attendriz, Et ma uie fen ua tout beau. Las mes longziours font amoindriz, Plus ne me refte qu'un tombeau.
THE OLD MAN.
pun6to ad inferna defcendunt. IOB xxi.
biens modains leurs iours dei-
PuisfoubdainauxEnfersdefcendent, Ou leur ioye pafle en triftefle.
fob mors fepa
Amour qui unyz nous fai& uiure, En foy noz cueurs preparera, Qui long temps ne nous pourra fuy ure, Car la Mort nous feparera.
THE NOBLE LADY.
le&ulo fuper quern afcendifti
defcendras a ton
Car Mort t'aura tan toft dompte, Et en brief te uiendra faifir.
apres moy marchez qui eftes par trop charge.
Ceft aflez fuiuy
In fudore vultus
fueur de ton uifaige gaigneras ta pauure uie.
Apres long trauail, Voicy la Mort qui
ufaige, te conuie.
tempore repletur multis quail
egreditur, fugit velut vmbra.
Tout homme de la femme yfTant Remply de mifere, & d'encombre, Ainfi que fleur toft finifTant. Sort puis fuyt comme faift 1'umbre.
THE YOUNG CHILD.
ftabimus ante tribunal do-
ROMA. xiui. Vigilate,
orate, quia nefcitis
Deuante le trofne du grand iuge Chafcun de Toy compte rendra Pourtant
Car ne fcauez quand
ne uous il
THE LAST JUDGMENT
& in aeternum
ueulx uiure fans peche imaige a tous propos, Et point ne feras empefche,
tu t'en iras a repos.
THE ESCUTCHEON OF DEATH.
eo fuperueniens vicerit eum, uniuerfa eius arma aufert, in quibus confisuu,
fort arme en jeune corps Penfe auoir feure garnifon ;
sa corporelle maifon.
Gaigner d'hazard,& chance experte, recoit de fa uie immonde Par mort, irreparable perte ?
vin (auquel est tout exces)
enyurez pour dormir
Sommeil de Mort qui au deces Vous face 1'ame, & sang vomir.
Quafi agnus nefcit
ignorans, vincula stultus
en ioye, qu'il
fen va mourant,
Tant qu'a fa fin il eft condui6t Ainfi que 1'agneau ignorant.
femme brigandee seigneur on me fait force.
Lors de Dieu
eftrangle a dure eftorce.
Caecus caecum ducit foueam cadunt.
L'aueugle un autre aueugle guide, L'un par 1'autre en la fofle tombe
Carquand plus oultre aller il cuide, La MORT I'homme ieleen la tombe.
THE BLIND MAN.
Corruit in curru fuo. i
passage de MORT peruerse Raifon, chartier tout efperdu, Du corps le char, & cheuaux verse, Le vin (sang de vie) espandu.
Miser ego homo Quis me de corpore mortis huius ? !
chair veult en Chrift
craint mort, mais dit un mortel, me rendra deliure
de ce corps mortel
C. WH1TT1NGHAM AND TOOKS COURT, CHANCERY LANE.